Contemporaneity: Historical Presence in Visual Culture 2019-11-06T15:26:14-05:00 Emi Finkelstein and Katie Loney Open Journal Systems <p dir="ltr"><em>Contemporaneity</em> is an open access and peer-reviewed journal that publishes scholarly and artistic explorations of the diverse ways in which the complexities of being in time are expressed. <span style="color: black;">It is based</span> in the department of the History of Art &amp; Architecture at the University of Pittsburgh, and emerges from its innovative <a href="" target="_blank" rel="noopener">constellations program</a>. We publish question-driven research that resonates across disciplines, interrogating diverse visual material from across time using multiple methods. Our editorial board seeks to:</p> <ul> <li class="show" dir="ltr"> <p dir="ltr">Adhere to high publishing standards that preserve the integrity of scholarship</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Bring junior and senior scholars and editors together through a constructive, double-blind peer-review process</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Generate content of lasting intellectual interest to emerging and tenured scholars</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Provide a forum for junior and senior scholars to develop under-researched topics and experimental methodological approaches</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Make scholarly writing free and accessible online</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Lead critical discussions around current publications and developments in curatorial and artistic practice in flexible formats.</p> </li> <li class="show" dir="ltr"> <p dir="ltr">Link art historical practice to a global discussion of visual cultures across disciplinary and methodological boundaries.</p> </li> <li class="show" dir="ltr">Encourage non-traditional formats</li> </ul> Yesterday's Contemporaneity: Finding Temporality in the Past 2019-11-01T08:17:10-04:00 Jacqueline M. Lombard <p>Editorial Statement for volume eight of <em>Contemporaneity: Historical Presence in Visual Culture</em>.</p> 2019-10-30T15:51:31-04:00 Copyright (c) 2019 Jacqueline M. Lombard Timelessness and Precarity in Orientalist Temporality: Mehdi-Georges Lahlou’s Aesthetics of Disorientation 2019-11-01T08:17:08-04:00 Conor Moynihan <p><em>The Hourglasses </em>(2015), by French-Moroccan artist Mehdi-Georges Lahlou, features five large hourglasses displayed artifact-like upon a table. As one would expect of an hourglass, these glass sculptures can be inverted to measure out time. This, though, is where convention ends, as these are filled with couscous, not sand. Unlike sand, couscous cannot measure time consistently and the inversion of any one of these five hourglasses results in a different measurement of time. In effect, they disorient any linear notion of temporality, raising the specter of Orientalism and its fantasy of a timeless East. Mehdi-Georges works in a diverse range of media including performance, sculpture, installation, and self-portraiture. Dealing with race, gender, sexuality, colonialism, identity, and representations of Islam and Catholicism, his work performs the instability in all these categories by critically complicating fantasies of “East” and “West” without relying on a mere binary reversal of meaning. Contextualizing his work within a larger history of Orientalism, my argument begins first with Percy Bysshe Shelley’s poem “Ozymandias,” composed in 1817, followed by an analysis of nineteenth- and twentieth-century Orientalist paintings before leading to a concise discussion of contemporary Orientalism in art and art discourse. My analysis then circles back to the artist’s work to insist that Orientalism’s fantastical invocation of the East remains a disabling presence in the contemporary imaginary. Orientalism’s temporality, as glimpsed obliquely from Mehdi-Georges Lahlou’s hyphenated identity, is likewise rendered unstable in his work. As seen in <em>The Hourglasses</em>, his work produces what I call “an aesthetic of disorientation,” predicated on the artist’s embodied cultural hyphenation, which renders the Orientalist fantasy of the East absurd through its own tropes of representation. By bringing queer theory and disability studies to bear on his work, I show how his practice engages with Orientalism’s temporality to open up new possibilities of perceiving the world.</p> 2019-10-30T16:23:06-04:00 Copyright (c) 2019 Conor Moynihan “So shall yoe bee:” Encountering the Shrouded Effigies of Thomas Beresford and Agnes Hassall at Fenny Bentley 2019-11-01T08:17:12-04:00 Aimee Caya <p class="AbstractText">The Beresford Monument from the Church of St Edmund at Fenny Bentley in Derbyshire is a funerary monument that has received relatively little attention from scholars due to its unusual imagery and the lack of documentary evidence regarding its creation. The alabaster monument depicts Thomas Beresford (d. 1473) and Agnes Hassall (d. 1467) as fully shrouded three-dimensional effigies. Incised around the base of the monument are enshrouded representations of their twenty-one children. This paper analyzes the impact that veiling the bodies of Thomas Beresford and Agnes Hassall has on the effectiveness of the monument as a commemorative tool and situates the shrouded effigies within their broader visual and social context at the turn of the sixteenth century. Rather than dismiss the unusual imagery of the Beresford Monument as an expedient solution selected by sculptors who did not know what Thomas Beresford and Agnes Hassall actually looked like, this paper argues that shrouding the effigies was a deliberate commemorative strategy meant to evoke specific responses in the monument’s viewers. Although there is little concrete information about the tomb’s commission, contextualizing it by examining the monument in concert with other aspects of late medieval culture—including purgatorial piety, macabre texts and imagery, and <em>ex votos</em>—can provide a richer understanding of the object’s potentiality for its beholders. The anonymizing aspect of the shroud ultimately enabled viewers to identify freely and easily with the individuals depicted on the monument, which would have encouraged them to pray for the souls of Thomas and Agnes, thus perpetuating their memories and reducing their time in purgatory.</p> 2019-10-30T15:44:45-04:00 Copyright (c) 2019 Aimee Caya Sacred Substantiations: Lincoln Casts and Statuary in the American Imagination 2019-11-01T08:17:13-04:00 Ramey Mize <p class="AbstractText">On March 31, 1860, Abraham Lincoln waited in the studio of Leonard Wells Volk as a plaster mold hardened around his face and head. After one hour, Volk removed the mold; he later repeated the process for Lincoln’s hands. The resulting life casts elicited profound emotional reactions in those who saw them. Augustus Saint-Gaudens recognized and capitalized on their invaluable status as candid indexes of Lincoln’s likeness in his 1887 Chicago monument,&nbsp;<em>Abraham Lincoln: The Man</em>. In the words of sculptor Lorado Taft, “It does not seem like a bronze. . . . One stands before it and feels himself in the very presence of America’s soul.”</p> <p class="AbstractText">It was also Saint-Gaudens who amplified the casts’ influence through the manufacture of a prized series of thirty-three bronze replicas.<em>&nbsp;</em>The actual and imagined characteristics of these casts—their sense of possessing a “soul,” and their physical manifestation of Lincoln’s touch—all warrant consideration of their place within the larger tradition of holy relics. This paper posits the Lincoln casts as “contact relics” and establishes the generative potential of such a numinous categorization for American audiences, especially in the wake of the Civil War. Volk’s direct impressions of Lincoln’s visage and hands provided the “blueprints,” so to speak, for an astonishingly wide variety of sculptural manifestations—from the iconic&nbsp;<em>Lincoln Memorial</em>&nbsp;(1920) by Daniel Chester French to&nbsp;<em>Abraham Lincoln</em>&nbsp;(1917) by George Grey Barnard. This essay argues that the cultural impact of this sculptural genealogy is largely indebted to the casts’ material substantiations of Lincoln’s bodily presence and touch. Indeed, by situating these objects between medieval and modern modes of viewing, it will become clear that the casts, as progeny of the original life molds, afforded an affective, even remedial, authenticity for subsequent Lincoln monuments in the American imagination.</p> 2019-10-30T15:40:44-04:00 Copyright (c) 2019 Ramey Mize The Canaries of Democracy: Imagining the Wandering Jew with Artist Rosabel Rosalind Kurth-Sofer 2019-11-01T08:17:03-04:00 Rae Di Cicco Rosabel Rosalind Kurth-Sofer Thomas M. Messersmith <p>.</p> 2019-10-31T14:32:13-04:00 Copyright (c) 2019 Rae Di Cicco, Rosabel Rosalind Kurth-Sofer, Madison Tarleton Are Indians in America's DNA? 2019-11-01T08:17:05-04:00 Marina Tyquiengco Monika Siebert <p>A conversation between Dr. Monika Siebert and Marina Tyquiengco on:</p> <p><em>&nbsp;</em></p> <p><em>Americans</em></p> <p>National Museum of the American Indian</p> <p>January 18, 2018–2022</p> <p>Washington, D.C.</p> <p><em>&nbsp;</em></p> <p>Monika Siebert<em>, Indians Playing Indian: Multiculturalism and Contemporary Indigenous Art in North America. </em>Tuscaloosa: University of Alabama Press, 2015.</p> 2019-10-30T17:00:50-04:00 Copyright (c) 2019 Marina Tyquiengco, Monika Siebert From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex 2019-11-06T15:26:14-05:00 Adriana Miramontes Olivas Gabriel Garcilazo <p>In this conversation between Gabriel Garcilazo and Adriana Miramontes Olivas, Garcilazo explains his interest in appropriating popular culture and historical documents such as the sixteenth-century <em>Codex Azcatitlan</em>. His artwork <em>Dystopic Magical Codex</em> (2015) examines the recent war on drugs in Mexico and its consequences through spatial and temporal elements that reconsider concepts of borders, nations, and trade. The conversation is introduced in a brief essay in which Miramontes Olivas contextualizes Garcilazo’s codex. She argues that Garcilazo criticizes state apparatus rhetoric on the war on drugs and harsh immigration policies, demanding the conceptualization of alternative solutions that could reduce both the carnage and the exodus of those living in fear. He also warns, as have other contemporary artists from Mexico, against new forms of colonization and master narratives that homogenize and hamper border-crossing and interaction among cultures.</p> 2019-10-30T16:57:54-04:00 Copyright (c) 2019 Adriana Miramontes Olivas Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance 2019-11-01T08:17:18-04:00 Andrea Kibler Maxwell <p>Book Review: Sandra Cardarelli and Laura Fenelli, eds., <em>Saints, Miracles and the Image: Healing Saints and Miraculous Images in the Renaissance</em>. Tournhout: Brepols, 2017. 318pp; 87 color ills.; 30 b/w ills. Hardcover €120.00 (9782503568188)</p> 2019-10-30T15:27:00-04:00 Copyright (c) 2019 Andrea Kibler Maxwell Raphael and the Redefinition of Art in Renaissance Italy 2019-11-01T08:17:17-04:00 Christopher J. Nygren <p>Book Review: Robert Williams, <em>Raphael and the Redefinition of Art in Renaissance Italy</em>. Cambridge: Cambridge University Press, 2017. 314 pp.; 113 b/w ills. Hardcover $105.00 (9781107131507)</p> 2019-10-30T15:29:36-04:00 Copyright (c) 2019 Christopher J. Nygren Art and Miracle in Renaissance Tuscany 2019-11-01T08:17:16-04:00 Sarah Reiff Conell <p>Book Review: Robert Maniura, <em>Art and Miracle in Renaissance Tuscany.</em> Cambridge: Cambridge University Press, 2018. 276 pp.; 59 b/w ills. Hardcover $99.99. (9781108426848)</p> 2019-10-30T15:32:09-04:00 Copyright (c) 2019 Sarah Conell Fujiwo Ishimoto Exhibition: From Marimekko Flowers to Ceramic Fruits in Dialogue with the Rinpa 2019-11-01T08:17:14-04:00 Carolyn Wargula <p>Exhibition Review</p> <p>Exhibition catalog: Yoshinao Yamada, <em>Fujiwo Ishimoto: From Marimekko Flowers to Ceramic Fruits</em>. Tokyo: Wacoal Art Center, 2018. 23 pp. ¥1,188</p> <p>Exhibition schedule: The Museum of Art, Ehime, October 27 – December 16, 2018; Hosomi Museum, Kyoto, March 9 - April 21, 2019; Spiral Garden, Tokyo, June 19 – June 30, 2019.&nbsp;</p> 2019-10-30T15:36:10-04:00 Copyright (c) 2019 Carolyn Wargula Erratum to: Miramontes Olivas, A., & Garcilazo, G. (2019). From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex. Contemporaneity: Historical Presence in Visual Culture, 8, 98-118. 2019-11-06T15:23:30-05:00 Jacqueline M. Lombard <p>Erratum to: Miramontes Olivas, A., &amp; Garcilazo, G. (2019). From Axayácatl to El Chapo: Rethinking Migration and Mexico’s War on Drugs in Gabriel Garcilazo’s Dystopic Magical Codex. <em>Contemporaneity: Historical Presence in Visual Culture</em>, 8, 98-118.&nbsp;<a href=""></a></p> <p>&nbsp;</p> <p>The original publication of this article included a misspelling of Gabriel Garcilazo's name in its title, incorrectly spelling Garcilazo's last name. The original article has been updated to reflect this change.</p> 2019-11-06T15:22:31-05:00 Copyright (c) 2019 Jacqueline M. Lombard